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Finding the Perfect Sound: A Guide to Film Scoring Sound Effects

Finding the Perfect Sound: A Guide to Film Scoring Sound Effects

Table of Contents

Sound effects are the unsung heroes of the film industry, bringing every image to life. Whether it’s a dinosaur’s roar or the delicate rustle of leaves in a romantic scene, sound effects play an essential role in shaping a film’s emotional landscape. 

Join Scorecraft Academy on a captivating journey through the art of film sound effects as we investigate the details, creativity, and technical wizardry involved in creating the ideal soundscape for the screen.

Key Takeaways

  • Sound effects are the unsung heroes of the film industry, crucial for bringing images to life.
  • Sound effects enhance emotional involvement, set scenes, and reveal character traits.
  • They play a pivotal role in mood and storytelling, creating tension and shaping pacing.
  • Various sound effects include Foley, synchronous, non-diegetic, and diegetic sounds.
  • Sound effects can be sourced from libraries or custom-made for a unique cinematic experience.
  • Selecting the proper sound effects involves relevance, tonal quality, consistency, symbolism, and originality.
  • Integrating sound effects with visuals requires synchronization, dynamic range, and consideration of off-screen sounds.
  • Sound effects influence emotions, enhance character presence, set atmosphere, and convey symbolism.
  • Balancing sound effects and the musical score is crucial for a harmonious cinematic experience.
  • The future of sound effects in film scoring involves immersive technologies, AI, and environmental considerations.
  • Practical tips for film composers emphasize collaboration, storytelling, and professionalism.
  • Using sound effects involves creating ambient sound, establishing realism, nonverbal storytelling, and tension-building.
  • Sound effects are created through writing, orchestration, recording, and syncing.
  • Sound design’s crucial components include microphones, Foley, ambient noise, the musical score, and the mix.

The Role, Impact, and Types of Sound Effects in Film Scoring

Movie sound effects are an essential part of film music because they contribute significantly to the overall effect and narrative of the film. They serve to increase the emotional involvement of the audience and immerse them in the cinematic experience. 

This section will explore the critical role of sound effects, their profound impact, and the various types used in film music.

The Role of Sound Effects

The Role of Sound Effects

Emotional Enhancement

Sound effects can be used to convey emotions and create moods. They can increase the tension, the drama, or the laughter. A well-placed squeaky door, for example, can elicit fear, whereas birdsong can add to the serenity of a rural setting.

Setting the Scene

Sound effects are crucial in establishing the time and place of a scene. Auditory cues such as the clatter of a busy city street or the chirp of crickets in a quiet forest help to anchor the audience in a specific location.

Character Development

Character traits can also be revealed through sound effects. From the jingle of keys to the slamming of a car door, a character’s interaction with their surroundings can reveal their personality and emotional state.

Enhancing Realism

Sound in film adds authenticity to a film by making the world on screen seem real and tangible. They contribute to creating a compelling and immersive environment for the audience.

The Impact of Sound Effects

The Impact of Sound Effects

Engagement

Sound effects immerse the audience in the story and give them the impression that they are actively participating. Sound effects, when used effectively, can make the viewer forget they are watching a movie and instead transport them into the film’s universe.

Mood and Atmosphere

Sound effects have the power to alter the emotional tone of a scene dramatically. A soft, melodic piano tune can evoke melancholy, whereas a sudden thunderclap can elicit tension.

Storytelling

Sound effects can convey information that is not visible visually or verbally. Approaching footsteps, the ticking of the clock, or the ringing of the phone can all be subtle indicators of impending events.

Pacing and Rhythm

The timing and selection of picture sound effects affect the pace of a film. Fast, intense sound effects can raise the heart rate of the audience, whereas slower, more focused sounds can elicit excitement and anticipation.

Types of Sound Effects

Types of Sound Effects

Foley Effects

These are film sound effects created in a studio by Foley artists to match the actions on the screen. Footsteps, creaking doors, and rustling clothing are some examples. Foley effects give you a lot of control and realism.

Synchronous Sound Effects

These are ambient sound effects that were recorded concurrently with the images. For example, while the vehicle is moving, the sound of a car engine running appears on the screen. They ensure that the sound corresponds to what is happening on the screen.

Non-Diegetic Sound Effects

These are some sound effects for the film that the characters in the movie are unable to hear. They are commonly used to create a dramatic or stylistic effect, such as a musical score or voiceover.

Diegetic Sound Effects

These sounds exist in the film’s world and can be heard by the characters. Dialogues, background music, or sounds from objects in the scene are all examples.

Sourcing Sound Effects

Sound effects are essential in film music, and selecting the proper effects can significantly boost a film’s overall impact. Filmmakers and film composers have two options for sound effects: library and custom sound effects.

Library Sound Effects

Pre-recorded library sound effects are widely available from a variety of sources. They are a quick and inexpensive way to get a variety of sounds for your film.

Online Sound Libraries

Extensive libraries of sound effects are available for purchase on online platforms such as Audiojungle, Soundsnap, and PremiumBeat. Meanwhile, Freesound and FreeSFX provide free, user-contributed sound effects, which can be helpful for budget-conscious independent filmmakers, though quality varies.

Stock Audio and Video Editing Software

Many video editing software packages include built-in sound effects libraries, such as Adobe Premiere Pro and Final Cut Pro. These can be a quick and easy way to create primary sound effects.

Licensing and Copyright

It is critical to be aware of license and copyright restrictions when using library music in the movie. Some sound effects may be available for free or a fee, but only under certain conditions. To avoid legal issues, always read and follow the license agreements.

Custom Sound Effects

Custom Sound Effects

Custom sound effects are created or recorded for a specific film. They provide the advantage of having one-of-a-kind, customized sounds that perfectly match the director’s visuals and creative vision.

Foley Artists

Foley artists are experts at creating custom sound effects corresponding to on-screen actions. In a studio setting, they use props and various materials to create lifelike sounds. Footsteps, door creaks, and other character movements are examples of this.

Field Recording

Field recording is recording sounds directly from the environment in which the film is being shot. It can be used to record ambient sounds, specific location sounds, or one-of-a-kind effects unavailable in a library. This process requires a high-quality field recorder and microphone.

Sound Design and Synthesis

Sound designers and synthesizers create custom sound effects from scratch using digital audio workstations and software. You can manipulate and combine various elements to create one-of-a-kind and otherworldly sounds. This method is frequently used in science fiction, fantasy, and experimental films.

Voice and ADR (Automated Dialogue Replacement)

Voice recording and ADR for character dialogue or unique vocalizations are also examples of custom sound effects. This is frequently required when the original dialogue needs to be clarified or changed.

The Art of Sound Selection

The Art of Sound Selection

Sound design is an integral part of creating an immersive film music listening experience. A composer or sound designer selects sound elements to enhance stories in the same way that an artist chooses the right colors for a painting. Here’s a closer look at the craft of sound design:

Relevance to the Scene

The first consideration is that the tone chosen is appropriate for the scene and adds to the narrative. A busy city scene, for example, would benefit from traffic sounds, whereas a quiet forest scene might require birds singing and leaves rustling.

Tonal Quality

The sonic quality of a sound can significantly influence the emotional resonance of a scene. You change your mood by choosing between a complex, dissonant sound and a soft, melodic sound.

Consistency

Sound elements should be consistent with the film’s overall style and mood. Making the right choices consistently helps to maintain audience cohesion and engagement.

Symbolism

Sound can also have symbolic significance. The sound of a ticking clock, for example, can represent impending doom or a race against time, adding depth to the story.

Originality

While sound effects from a library are practical, sound selection frequently necessitates customization or sound combining to create something unique. This uniqueness can help a film stand out and become more memorable.

Matching Sound Effects to Visuals

Matching Sound Effects to Visuals

Matching sound effects to visual elements is a precise and complex process fundamental to a smooth and immersive cinematic experience:

Synchronization

The sound effects must be perfectly synchronized with the on-screen actions. The timing of a slamming door, a crash landing, or a screeching car must be perfect for the audience to be immersed in the illusion.

Dynamic Range

It is critical to consider dynamic range. A whisper should be audible, and an explosion should be audible. By balancing these extremes, audiences are not left out of the story due to inconsistencies in volume.

Off-Screen Sounds

Consider the area beyond the frame. Off-screen sounds, such as sirens or distant voices, add depth and realism to the scene, making the film world appear larger.

Diegetic vs. Non-Diegetic Sound

Differentiate between sounds heard by characters in the film (diegetic) and sounds added for dramatic effect (non-diegetic). This distinction determines the audience’s perception of the sound’s source.

Creating Emotional Impact

Sound effects have a significant impact on eliciting emotional responses from the audience. Here’s how they make an impression:

Tension and Release

Sound effects can build tension or provide moments of relaxation. A slow, tense buildup followed by a sudden, intense sound can evoke strong emotional reactions.

Character Emphasis

Characters’ presence and emotions can be enhanced by the sounds associated with them. The sound of footsteps, for example, can build anticipation as a character approaches, or the rustling of fabric can reveal a character’s nervousness.

Atmosphere and Mood

Sound effects determine the atmosphere of a scene. They set the mood and emotional backdrop for the audience, from spooky whispers in a haunted house to the cheering sounds of a party.

Symbolism

Sound effects can represent internal emotions. A character’s racing heartbeat, for example, can be used to convey fear or excitement, allowing the audience to connect with the character’s state of mind.

Sound Effects and Music Integration

The seamless integration of sound effects and music distinguishes compelling film music. When sound effects are seamlessly integrated into music, they add emotional depth to the story, highlight key moments, and immerse the audience in a more intense cinematic experience.

Balancing Sound Effects and Musical Score

It is a delicate art to balance sound effects and the musical score. The two must coexist peacefully, with neither dominating the other. Achieving this balance ensures that the music and sound effects enhance rather than compete for attention with the emotions and nuances of the story.

Creating Synergy

The interaction of the sound effects and the musical score heightens the impact of both elements. 

They collaborate to create a cohesive and immersive soundscape that emphasizes the emotional moments of the story, heightens tension, and guides the audience’s emotional journey through the film, resulting in an immersive cinematic experience.

The Future of Sound Effects in Film Scoring

As technology and creative possibilities advance, the future of sound effects in film scoring looks promising:

Immersive Soundscapes

Sound effects are becoming more immersive with the introduction of technologies such as Dolby Atmos and virtual reality. Audiences can experience 360-degree audio, giving them a greater sense of presence in the cinematic world.

AI-Generated Sound Effects

Artificial intelligence and machine learning will play a growing role in the generation and customization of sound effects. AI algorithms can analyze scenes quickly and generate realistic, personalized effects, saving time and resources.

Interactive Sound Design

Sound effects in interactive media and gaming will adapt in real time to the player’s actions, increasing immersion and personalization.

Augmented Reality (AR)

AR experiences will seamlessly integrate sound effects with the physical world, resulting in dynamic and interactive narratives for users.

Sustainability

Sound effects production may incorporate environmentally friendly practices, aligning with the entertainment industry’s growing emphasis on sustainability.

Practical Tips for Film Composers

Film composers are crucial in shaping the cinematic experience. Here are some helpful tips for composers to improve their skills, collaborate effectively, and succeed in the industry.

Collaboration and Communication

Form strong bonds with directors, editors, and sound designers. Understanding their vision and adapting the composition to the needs of the film require effective communication.

Temp Tracks

Take note of the temporary music tracks used during the editing process. They provide helpful insight into the director’s expectations and can serve as a jumping-off point for your composition.

Storytelling Through Music

Compose with the narrative in mind. Your music should complement the film’s narrative, character development, and emotional arcs. Consider how your music can help to tell the story.

Scoring to Picture

Learn to score to the visuals’ timing and rhythm. Make sure your music is perfectly synced with the on-screen action, dialogue, and cuts.

Understand the Emotion

Recognize the emotional undertones of each scene. Consider your music’s psychological impact on the audience and use it to convey mood, tension, and character depth.

How to Use Sound Effects

Sound effects are the unsung heroes of audiovisual storytelling, providing a powerful tool for evoking emotion and increasing immersion. Learn how to use sound effects effectively in your creative projects.

Create Ambient Sound

Ambient soundscapes set the scene by immersing the audience in the setting. Ambient sounds enhance immersion and create a vibrant backdrop, whether in a busy city or a peaceful forest.

Establish Some Realism

Sound effects add realism to the on-screen action. The clinking of cutlery or the hum of a busy cafe can help to ground scenes in reality.

Use Nonverbal Storytelling

Dialogues cannot convey information through sound effects. A ringing phone, approaching footsteps, or a distant scream can all hint at the story’s unspoken elements.

Add Sound Effects for Tension

Sound effects, when used correctly, can heighten suspense and drama. A squeaking floorboard or a heartbeat can heighten tension and keep the audience on the edge of their seats.

Shift Audience Emotions

Sound effects trigger emotions. They can influence how the audience perceives and connects with the characters and plot, from joyful laughter to eerie silence.

Find Sound Effects

Sound effects can be obtained from libraries, created using Foley or generated digitally. Finding the proper effects is critical for effective sound design, which improves the auditory experience in films, television shows, and multimedia projects.

How Sound Effects are Created

Sound effects are audio production’s hidden gems, enhancing the auditory landscape of film, television, and multimedia. In the following, we’ll examine the creative process of creating sound effects.

Writing

A written description or script frequently precedes sound effects. Writers describe the sounds required to complement visual elements and accurately convey emotions or actions.

Orchestration

Orchestration involves planning sound elements, including selecting the appropriate instruments or digital tools to achieve the desired auditory effect. This procedure lays the groundwork for the finished product.

Recording

Foley artists and sound designers record many sound effects by performing them in sync with the visuals. This hands-on approach captures real-world sounds, ensuring the final product’s authenticity and resonance.

Syncing

Syncing is the meticulous process of precisely aligning sound effects with on-screen actions. Timing is crucial in ensuring that every footstep, creak of a door, or explosion synchronizes with the visual narrative. This step raises the level of immersion and storytelling.

Most Crucial Components Of Sound Design

Sound design is the unseen art that brings visual storytelling to life. In this section, we will examine the elements that make sound design an essential part of film and media.

The Right Microphones

Choosing the suitable microphones is critical. To capture various sounds, various types and models are used, ensuring clarity and fidelity in sound recording.

Foley

Foley artists recreate sounds in a controlled studio environment, giving on-screen actions and character movements depth and realism.

Ambient Noise

Ambient sounds create a convincing audio backdrop, immersing the audience in the environment and enhancing storytelling.

Music and The Score

The musical score adds to the emotional depth and storytelling by evoking mood and character dynamics, making it an essential sound design component.

The Mix

All elements come together in the mix. To create a harmonious and impactful auditory experience, skilled sound designers balance and blend sound effects, dialogue, music, and ambient noise.

How To Learn Sound Design

We offer innovative film scoring programs for aspiring film composers and sound designers at Scorecraft Academy. Our programs are designed for people who are enthusiastic about music, film, and digital media. 

You’ll be mentored and guided by experienced film composers, and you’ll have exclusive access to their creative processes and techniques.

Contact us today to kickstart your career in this dynamic and ever-growing field!

Conclusion

Sound effects are:

  • The unsung heroes of film scoring.
  • Breathing life into each frame.
  • Influencing emotions.
  • Adding depth to storytelling.

We hope this guide has shed some light on the critical role of sound effects, their impact, and how to select and integrate them effectively. As you set out to find the perfect sound, remember that the possibilities in auditory artistry are only limited by your imagination.

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Take a look at our Syllabus

PART ONE – Chordal State Lecture

  • Chordal States – constantly change based on harmony, melody, and film emotion
    • Grounded state versus Ungrounded state.
      • Grounded states and examples
      • Ungrounded states examples including altered tone degrees or dissonance.
    • Tools to use in between Grounded and Ungrounded, when you don’t know what the emotion will be:
      • Lydian Mode “chord” – Root + Major Third + Flatted 5th
      • Augmented triad example
      • Suspended triad
      • Intervallic triad
    • Spotify Listening – Film Score Intensive 1 playlist.
    • Homework Session – Thor Love & Thunder cue

PART TWO – Spotting, Dialog, Scoring Devices

  • Questions to ask at a Spotting Session
  • Writing around dialogue
  • Musical Devices – Key, Mode, Register, Tempo, Density, etc
  • Review Michael’s Thor cue – introduction to the review process

PART ONE – Animated Scoring and intro to Harmonic textures

  • Review of students’ Thor cue
  • Monophonic Orchestration Style (#1) from George Frederick McKay’s Creative Orchestration – 8 Orchestra Textures
    • Can be a solo instrument, doubled in octaves, or unison at same register with different instruments.

Homework – Sonic the Hedgehog cue

PART TWO

  • Review of students’ Thor cue

PART ONE – Expanded Harmony and intro to comedy writing

  • Chordal Harmony (#2) and Onomatopoeia (#8) Orchestration Style
    • Chordal Harmony – melody is supported by chords, without countermelody or conter-rhythm, in its entirety.
    • Onomatopoeia – music sounds like its subject – any musical device you can think of.
  • Review of students’ Sonic cue
  • Kids’ Music and Comedy – Types of writing – bumper-based shows, rock/pop, cheesy and sparse, short stings or reactionary scoring, electronic/EDM, classic lo-fi, instrumentation, etc.

Homework – Little Margo cue

PART TWO – THURSDAY-SCI FI Music, Chromatic Expansion and Hans Zimmer Music

  • Review of students’ Sonic cue
  • “How DUNE Composer Hans Zimmer created the Oscar-winning score l Vanity Fair” YouTube video
  • Review of students’ Little Margo cue

PART ONE – Chromatic expansion, polyphonic texture, Sound design drones

  • Polyphonic Writing, Orchestration Style – consists of two or more simultaneous melodic lines. Similar to fugues or counterpoint. Maybe side by side to start, then together.
  • Spotify listening playlist – Polyphonic Harmony
  • Chromatic Expansion – Take the top voice and go up chromatically while chords change underneath.
  • Review students’ Little Margo cue
  • Making a Drone using a Synth Plugin
  • Homework – Mandalorian cue

PART TWO – Live Scoring “star Wars” Speed Writing

  • LIVE Scoring session – Star Wars Carbonite – spotting and scoring
  • Loopback sample setup

PART ONE – Modulations, secondary harmonic dominants, James Bond Music(SPY)

  • “Kobe Bryant’s Greatest Speech – BEST Motivation Ever” YouTube video
  • Review of students’ Mandalorian cue
  • Secondary Harmonic Dominants (teoria.com) – method of prolongation of the chordal structure and movement to another chord or key, including false cadences.
  • Spotting session – Golden Eye cue
  • Spotify playlist – Bond Music – Spy music – review instrument palette and playing styles.

WEEK 5 PART TWO – Templates Intro including libraries, MIDI CC

  • “John Barry and David Arnold – The Music of James Bond” YouTube video – music review
  • MIDI CC’s – 1, 7, & 11 – how to get a quick and dynamic response from brass and strings.
  • Michael shares a look at his Template and favorite Libraries.

PART ONE – James Newton Howard, Trailer music,

  • “The Pretty Woman soundtrack changed my career / James Howard Newton on Composing” YouTube review.
  • Review of students’ Golden Eye cue
  • Trailer & Promo Music – both part of music library music
    • Promo – Station promotes a new show or episode coming up
    • Trailer – written in shorter sections, not a lot of modulation or melody, with editable hit points, ostinato, swells, etc.
    • Spotting session – Joker Trailer cue

PART TWO – Guest in depth dive of Vienna Ensemble and Midi mapping/articulations

Guest teacher Steve Steele – Creating Articulation Maps, Vienna Ensemble Pro, Babylon Waves Art Conductor, MIDI CC’s, creating a workflow and Aux’s in your Template in detail.

PART 1 – Sound Design,Reharm progressions, Motifs and themes

  • Sound Design – anything non-orchestral or non-band oriented
    • Best chance of success in trailer music if you are good at sound design – more important than how good you are at orchestral music.
  • Spotify listening playlist – Sound Design
  • Incorporating Sound Design alongside Orchestral music in trailers, so you can hardly tell which is which. Strings and Synths made to sound like one thing – together.
  • Review of students’ Joker Trailer cue
  • Spotting session – Star Wars Return of the Jedi cue.

PART 2 – Reharm discussion including John Williams, Hybrid Brass

  • Reharmonization – cool chord progressions
    • vi-IV-II is a very powerful one, cinematic, gets you out of one key
    • vi-IV-VII keeps building and overcoming.
    • Variations: I-iv6-II Great for REVEALS with the last chord
  • Hybrid String-Synth and Brass-Synth creation
    • How to make a Hybrid Synth & Orchestral String instrument from scratch, including many FX plugins
  • Star Wars Theme Reharmonization ideas

PART 1 – SATB Scoring, Homophonic textures, Musicals

  • Homophonic Texture orchestration style – Melody with texture of chords underneath. SATB
  • Review of students’ Star Wars Return of the Jedi cue.
  • Homework – Lion King cue

PART 2 – Live Satb Scoring, Voice Leading In Film Scores

  • Review of students’ Star Wars Return of the Jedi cue.
  • LIVE Scoring – SATB
  • “How to Get From Chord to Chord – Voice Leading Music Theory by Odd Quartet” YouTube video review
  • “The Orchestration Method that ALWAYS Works by Ryan Leach” YouTube video review.

PART ONE – ADVENTURE MUSIC, Advanced Orchestral Devices

  • Flying and Adventure music – instrumentation and characteristics
  • Review of students’ Lion King cue
  • Homework – Jurassic Park cue
  • Orchestral Devices
    • Bi-tonal division – ability to superimpose other modes over/under your melody
    • Metric Modulation
    • Elongation
    • Melodic Counters
    • Register Division
  • Analysis of 1 minute of John Williams’ Jurassic Park Conductor’s score

PART 2 – Music Business Part 1, Music Libraries, Brand Development

  • Review of students’ Lion King cue
  • Analysis of Jurassic Journey to the Island
  • Music Business – Pitching to Music Libraries – What to Do
    • Creating your own catalog, brand and unique perspective.
    • Write a few paragraphs about your “Brand”.

PART ONE – Westerns And Their Traditional Orchestral Devices

  • Review of students’ Jurassic Park cue
  • Western Music review – instrumentation, characteristics, etc
    • Western Sub-Styles –
      • The Good, The Bad and The Ugly
      • Aaron Copland Heroic style, such as Billy the Kid
    • Spotify listening playlist – Westerns FSS
    • Spotting session – Butch Cassidy cue
  • Review of Western music sample libraries

PART TWO – Writing Transitions, Vertical And Horizontal Compositional Syles

  • Review students’ Jurassic Park cue
  • Transitions in compositional scoring
    • Trumpet Transition sample
    • Displaced Entry Transition
    • Major 7 on the V chord Transition
    • Rhythmic Displacement Transition

PART ONE – Orchestral Reductions, Holst Analysis And Uses

  • Review students’ Butch Cassidy cue
  • 20th Century Orchestration Style –
    • Holst: The Planets listening and review instrumentation and characteristics
  • Analyze “Mercury, The Winged Messenger” section from The Planets, and do a Score Reduction.
    • Dovetailing – when you move the melody or something up and down in register and section of the orchestra.
    • Major Tetrachords
    • Staggered triads in the Harp
  • “The Planets: Mercury, the Winged Messenger Score Reduction and Analysis” YouTube video
  • HOMEWORK – Spiderman cue

PART TWO – Invervalic Writing,in Class Score

  • Review students’ Butch Cassidy cue
  • Intervalic writing style (from Paraschetti book on 20th Century writing) – can be used under dialogue and can also be a way to transition between tension and release. The point is to create tension under the score without key and mode. Move by chord or by single notes. Every interval in a melody has an emotion. Review each one.
    • Two levels to Intervallic writing – Melody and Harmonization

LIVE scoring – write a melody with 2 woodwinds, with 4 changes in the melody, 4 intervals. Harmonize with another instrument underneath. Note change in emotion.

PART ONE – Hybrid Scoring Intro

  • Review students’ Spiderman cue
  • Hybrid Sound Design Music inspired by Songs
  • How to make a Pulse from scratch, including FX plugins
    • Favorite plugins and libraries
  • Spotting session – The Matrix lobby shootout cue
  • Spotify listening playlist – Hybrid Scoring

PART TWO – Advanced Sound Design And Project Pitch Creation

  • Review students’ Spiderman cue
  • Stylus RMX and REX files
  • Audio Mangling tools and favorite plugins
  • LIVE scoring – Record something audio, chip it up, reverse, delays, distortion, glitches, etc. Make an instrument out of it.

PART ONE – Music Of Jerry Goldsmith, Sci Fi, Horror Music

  • Review students’ The Matrix cue
  • Horror music – instrumentation and characteristics, sample libraries
  • Alien soundtrack by Jerry Goldsmith analysis
  • Spotify listening playlist – Week 4 FSS Horror
  • Spotting session – Prey (Predator 7) Final Battle Predator vs Naru Fight Scene cue

PART TWO – Mixing Part One

  • Review students’ The Matrix cue
  • Mixing – Thing in Frequency Ranges. Group tracks by frequency
    • How to treat Tracks and Stems
      • EQ can be built into your Template. Every project may be different, though.
      • Make a Bus/Aux Track for each plugin effect.
    • Compression, Reverb, EQ etc. concepts and products
    • How to Set Up a Master Bus

PART ONE – Atonal Music

  • Review students’ Prey cue
  • Atonal music style – instruments, characteristics, sample libraries
    • Uses shapes and colors outside key and mode.
    • Doesn’t have to be dissonant all the time.
    • Nebulous emotional center
      • Two ways to increase emotional intensity – speeding up or down, crescendo/decrescendo
      • Homogenous instruments or Non-Homogenous instruments
    • Spotting session – Mizimono cue (Hannibal season finale)
    • Spotify listening playlist – Atonal Class Music
    • Ideas for Scoring Atonal Music
      • 12-tone system of writing
      • Use Intervals in dissonant shapes
      • Alternate mild consonant interval to a more dissonant interval in succession
      • Clusters

PART TWO – Switching States And Emotions Rapidly, Midi Mockup

  • Review students’ Prey cue
  • LIVE Scoring – Atonal to Tonal – Grounded to Ungrounded
  • How to Record Initial Volumes into MIDI Instrument Tracks (and Gainstaging)
    • Adjusting CC’s on instruments, stems, leaving headroom on the master bus

PART ONE – Team Scoring Week, Bernard Hermann

  • Spotify listening playlist – Film Score History – Bernhard Herman, Vertigo & Psycho film scores
  • Review students’ Mizimono cue
  • Working with a Team – Work in pairs remotely to write Great Wolf Lodge cue.
    • Some of the best film score composers today have teams – Hans Zimmer, Harry Gregson-Williams, etc.
    • Who will write what? Style? Tempo? Key? Who will do the Deliverables to submit to Producer?
  • HOMEWORK – Great Wolf Lodge cue

PART TWO – Stacks And Ensemble Writing, Master Business Planning

  • Review students’ Mizimono cue
  • LIVE Scoring – Make an Instrument by Stacking instruments – Omnisphere is great for this. Trailer music and music library work, and Pop – these will require that you bring something new to the table. Can turn them into Risers, resample them, add FX plugins, etc.
  • Write a Master Plan – Don’t be on the No Plan Plan. Make a list of people, organizations, events, etc that you can access to promote yourself and make connections and relationships.

PART ONE – Computer Technology, Romantic Comedies

  • Computer configuration – Tech spec discussion regarding requirements for a good computer or network – size, speed, etc.
  • Review students’ Great Wolf Lodge TEAM cue
  • Romantic & Romantic Comedy music –
    • Instruments, writing styles, sample libraries
    • Woodwinds feature heavily, Pizzicato, Lydian mode, mallets, not super heavily orchestrated, etc
  • Write a Romantic Theme for violin. Deliver a chart for just the violin part. Send audio of orchestration or accompaniment with separate click track. Next week, we’ll have a live violinist in the studio to play and record your theme.
  • Spotify listening playlist – Romantic Comedy Score review
  • HOMEWORK – Titanic cue

THURSDAY – LIVE RECORDING IN CLASS WITH STRING PLAYER

PART ONE – Sync Music,promo Music, Hits Slams, Drums

  • Review students’ Titanic cue
  • Sync Music – Different styles, musical beds, used before TV shows, announcing new series/episodes, in movie trailers.
    • Definite format to this style
    • Big drum sounds
    • Editable hit points
    • Original music or Soundalikes
  • How to get your music in front of the right people. Who are the right people? How does the business of Sync music work?
  • Spotify listening playlist – PROMO Music/Sync playlist.
  • HOMEWORK – Back to the Future cue

PART TWO – Trailer Music<,music Pitch Part Two

  • Review students’ Titanic cue
  • LIVE Scoring – Trailer ending sample (last 15 seconds)
    • BIG ending, fast and frantic
    • Rise, Post Hit, then a sparkly thing at the end
  • Samples Libraries good for Trailer sounds

PART ONE – Video Game Music And Industry

  • Video Game Music – Non-linear, think in “blocks” of music
    • Must loop right at the zero point and create a tiny fade at the front and the end. Snap to Zero Crossings.
    • Emotional Mapping
    • Vertical Resequencing, Horizontal Resequencing
    • Cross Fading
    • Transitions
    • Middleware – Game Audio Engine
  • Spotify listening playlist – Video Game Music Mix
  • Spotting session – Video game cue “sections”. Deliver loopable audio regions for selected parts of the game.
  • Review students’ Back to the Future cue

PART TWO – Advanced Chordal And Tectural Scoring Techniques

  • Review students’ Bank to the Future cue
  • LIVE Scoring – Leading Shapes, Whole Tone Scale – Go from Lydian shape to resolution, which needs to modulate somewhere else. Use Leading or Common Tone resolutions style.
  • Leading Shapes, Whole Tone Scale – very useful if someone comes to a new place, or if there are mixed emotions.
    • Two whole tone scales – one starting on C and one starting on C#. Triads are all Augmented triads. Lots of Lydian Shapes in the Whole Tone Scale.
    • Leading Resolution
    • Common Tone Resolution
    • Alternate Root Notes

PART ONE – Mixing And Mastering

  • How the Video Game music business works – special events, etc
  • Review students’ Video Game loops
  • Mixing & Mastering Considerations –
    • Think front to back – far to close
    • Where to put reverb plugin in the signal chain
    • Frequency Masking
    • Drum sample mixing
  • HOMEWORK – Toy Story cue
  • Students screenshare live and “show and tell” their mixing workflow for the Toy Story cue. Have DAW open to show us.

PART TWO – Guest Composer

  • Guest composer Gigi Meroni Animation music specialist.
    • References for music given by Producers.
    • Are most of your episodes shorter these days?
    • Do you get writer’s block?
    • What are some good ways to try to get work when you’re just starting out?
  • Mixing Drums – Split them out and mix separately – LOTS of detail regarding drum positioning, panning, bleed, overhead mics, EQ ranges for each drum type, etc.

PART ONE – Personal Plan, Business Development, Final Full Episode

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • HOMEWORK – Wolf Lodge FINAL 24-minute episode cue
    • Theme for each character
  • ScoreCraft Academy Post Class Action Plan review
  • 20 questions to answer in detail about what concrete things you will do within different timeframes to get you further along in your composing career

PART TWO – Speed Write

  • Review students’ Toy Story cue and DAW Mixing/Mastering workflow
  • LIVE Scoring – Speed & Accuracy – How far have you come?
    • Section vs Section of Orchestra contrast. Write one complete section of the orchestra by itself, not across sections, and write it into another section of the orchestra.

PART ONE – Synthesis

  • “Analog Synths Explained” from Groove 3 video by Scott Dugan
    • Oscillators, Filters, Envelope Generator, Attack/Decay/Sustain/Release ADSR, Low Frequency Oscillator (LFO’s)
  • Favorite analog synth plugins and hardware.

PART TWO – Getting Paid, deliverables, Live Sound Design Session

  • Music Library Business format and payment process, royalties & publishing
  • LIVE Scoring – Sound Design Synthesis – Learn to use an LFO. Write a 20 second Intro to a trailer.
  • Omnisphere’s LFO – How to assign and use LFO’s

PART ONE – Brand Development, director Producer Interviews

  • What is your BRAND? It’s more than just music. It’s your journey. Document your journey, and share it! Do it in a way that will inspire people.
  • What will you bring to a project?
  • Why am I right for the project?
  • Michael interviews each student with the questions above.
  • Important concepts to convey to potential project managers –
    • I’m an expert, not a jerk about it.
    • I have a passion for music.
    • I have a passion for the project.

PART TWO – Personal Development, Score Reductions

  • Conductor’s Score Reductions review
    • Scherzo for Motorcycle and Orchestra score reduction and analysis Indiana Jones (NMK Music)
    • Finlandia score reduction and analysis (NMK Music)
  • Uncommon Sense for Creative People – Whitty-isms
  • Submit “My Strengths and Weaknesses” paragraphs to Michael. Notice how they may have changed since the beginning of the class.

Final Wrap

  • No Zoom – just hanging together.
  • “Alan Silvestri breaks down the composing workflow behind his blockbuster scores” (by Native Instruments) video
  • “Watch this every day and change your life – Denzel Washington Motivational Speech 2023” by AlexKaltsMotivation video
  • Final